Ten years of Marianne and Johan's relationship are presented. We first meet them ten years into their marriage. He is a college professor, she a divorce lawyer. They say that they are ...
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Johan and Marianne planned to finalize their divorce after several years. They met in order to sign the papers but it was an extremely difficult task to carry out. Touching a low point in his life, ...
A year had passed since Johan left Marianne. One day they got back in touch and Marianne invited Johan over for dinner. Johan received an offer of job in the US, but was not getting along well with ...
Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan's son from another marriage and his granddaughter.
In the midst of a civil war, former violinists Jan and Eva Rosenberg, who have a tempestuous marriage, run a farm on a rural island. In spite of their best efforts to escape their homeland, the war impinges on every aspect of their lives.
Two estranged sisters, Ester and Anna, and Anna's 10-year-old son travel to the Central European country on the verge of war. Ester becomes seriously ill and the three of them move into a hotel in a small town called Timoka.
Ten years of Marianne and Johan's relationship are presented. We first meet them ten years into their marriage. He is a college professor, she a divorce lawyer. They say that they are happily married - unlike their friends Katarina and Peter who openly fight, especially when under the influence of alcohol - but there is a certain detached aloofness in the way they treat each other. In the next ten years, as they contemplate or embark upon divorce and/or known extramarital affairs, they come to differing understandings at each phase of their relationship of what they truly mean to each other. Regardless of if it's love or hate - between which there is a fine line - they also come to certain understandings of how they can best relate to each other, whether that be as husband and wife, friends, lovers or none of the above. Written by
Ingmar Bergman has given options to the actors and crews to choose between receiving salary or percentage share from the TV series profit. Liv Ullmann chose salary since the earlier movie Cries & Whispers (1972) of Bergman was financial failure, while Erland Josephson and other crews chose percentage share. Scenes from a Marriage (1973) ended up being internationally popular and financially successful. and according to the interview with Liv Ullmann, this was one of the things she regretted in her life. See more »
We're emotional illiterates. We've been taught about anatomy and farming methods in Africa. We've learned mathematical formulas by heart. But we haven't been taught a thing about our souls. We're tremendously ignorant about what makes people tick.
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The end credits aren't shown on-screen but read by director and writer Ingmar Bergman, while "a beautiful picture of Fårö" is shown (different for each episode). Ingmar Bergman himself is in fact not credited at all. For the theatrical version, traditional on-screen credits were used, starting with "A film by Ingmar Bergman". See more »
Concerto for violin, strings & continuo in B flat major, Op. 10, No. 1
Written by Tomaso Albinoni
A short extract is played during the very beginning and end of each episode (it's not featured in the theatrical version) See more »
There are few other films that have the direct authenticity of this one. It is very frank, honest, tender, and heartbreaking. The performances of the two primary actors are amazing. Never once did I doubt their sincerity. In every single scene they overwhelmingly conveyed the intense and nuanced emotions of the couple. I use the word "overwhelmingly" because that is exactly what it is. At times it is hard to watch. Especially the scene in which Johan admits his infidelity. I could feel Marainne's hurt/anger/confusion. There are moments of intense tenderness, as in the last scene where Johan comforts Marianne after her nightmare. To be sure, the actors had some incredible material with which to work. Bergman knows human nature as much as any of modern writer. His dialog is poetic at times, and achingly authentic at others. They way the couple eviscerates and dissects each other is alarmingly, yet honest. Rarely is a character saying what they actually feel. Rarely do the characters know what they feel. They, like many people, really are "emotional illiterates." Bergman's direction is minimal, and that is what makes it so effective. The emphasis is completely on the characters and their existences. This is a powerful, evocative film. And I have seen only the theatrical version. I can imagine the full TV version is even more detailed.
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